In 2007, he published Cercle (Éditions Gallimard), a novel which earned him the prix Décembre and the prix Roger Nimier. Anyone can sing La Voix Humaine. Like a feminine human animal, pacing this territory for 40 minutes, stubbornly, insistently. On the contrary: this contradiction is necessary. It’s almost breathlessness. Warlikowski’s theatre is built around these contradictions. Now Proust refers to “telephone operators” who, for him, represent death: “Danaïdes of the invisible ceaselessly filling up and emptying the urns of sound, transmitting them from one to another” like funeral urns. Writing is that too, when it sings. There is something very athletic about you when you are on stage, something one doesn’t often see at the opera: something in the nature of a confrontation with elemental forces. : When Yannick Haenel, c’est une allure d’éternel jeune homme, une douceur, une gentillesse rare qui émanent de sa personne. B.H. Barbara Bohac 21 septembre 2012. La Grande table culture. said I couldn’t do it with a telephone. : Yes, Wolfsohn was to the voice what Freud was to psychoanalysis. Is he dead? Ultimately, I’m like the little white rabbit the magician pulls out of his hat: longing for his affection, terrified at the idea he might abandon me. Especially when singing this woman who is, by turns, woman, man, child, baby, telephone, revolver, dog. : I’d like to ask Yannick what ‘total commitment’ in terms of writing would be. Perhaps she was just sitting there in the audience a few years ago. I’m bruised from hurling myself against the walls, but it’s necessary, because it is aggressive, it is violent. The son of a soldier, Yannick Haenel studied at the Prytanée National Militaire at La Flèche.[1]. I refuse to because one falls in a very different way with them on. Le Château de Barbe-Bleue / La Voix humaine. This page was last edited on 8 February 2021, at 09:53. In La Voix humaine, a man who has been killed rises again, as if Elle had become Bluebeard. Dans la première, nous verrons Jan Karski de Yannick Haenel2, Cinéma de Tanguy Viel3 et Ils ne sont pour rien dans mes larmes d’Olivia Rosenthal4. sung, suddenly it becomes a monologue linked to death, to madness, to excess. Who is alive? I’ve inflicted violence on my voice and on music, in favour of dischord. – and who finally makes you levitate. She returned to Switzerland in 1989 and became head of the allergy unit at the cantonal university hospital. A.L. Yannick Haenel: What struck me first – fascinated me, I might say – is the way your appearances structure the evening as a whole: you appear in the prologue of Bluebeard’s Castle as the assistant of a strange magician who performs conjuring tricks before our eyes – is he the devil? : During rehearsals with Krzysztof Warlikowski, how did you work on your trajectory? 4 Olivia Rosenthal, Ils ne sont pour rien dans mes larmes, Verticales, Paris 2012. : That state of struggle is visible on stage. This production touches on the origins of crime. they exist in a kind of very vague place which hurts less…” As a performer, my When you watch the performance, a map is drawn before your eyes. Barbara Hendricks, la voix humaine. The difficulty comes from the fact it’s just a little higher than the tessitura of the speaking voice. It’s a question of using the voice with total commitment, without protecting oneself. Sign up to receive news fromOctave Magazine by email. Tête-à-tête est une revue annuelle d’art et d’esthétique exclusivement composée d’entretiens de fond réunis autour d’un thème commun. That’s important because with my colleagues, stage managers, pianists and conductors, I always have genuine relationships. 27 min. But I am perhaps already one of Bluebeard’s wives. A little book entitles Le Sens du calme. From 1997, he codirected the magazine Ligne de risque with François Meyronnis. B.H. Do you read French? Here, it’s as if the body emerges from the voice. During rehearsals, I Y.H. A.L. evening, when we have dinner together, we go on discussing things, trying new 3 Tanguy Viel, Cinéma, Minuit, Paris 1999. We are shut up inside and the outside world becomes inaccessible. Opera Cette connasse ne sait pas ce qu’elle a raté . There’s another woman: on the switchboard. de Yannick Haenel 2017, 30 min, production Le Fresnoy – Studio national avec Barbara Puggelli, Régina Démina, Eva Niollet et Yannick Haenel Ce film raconte l’obsession d’un homme pour une scène mythologique : le chasseur Actéon surprenant la déesse Diane nue, au bain. 100 1 _ ‡a Haenel, Yannick, ‡d 1967- 100 1 _ ‡a Haenel, Yannick, ‡d 1967- 100 1 _ ‡a Haenel, Yannick, ‡d 1967- I am nourished by Y.H. Until 2005 he was a teacher of French at lycée La Bruyère in Versailles. — Yannick Haenel is a columnist for the literary and film magazine Transfuge [fr] since 2010 and Charlie Hebdo since the resumption of publication after the January 2015 attacks. La publication a commencé le samedi 26 janvier et s’est prolongée le 26 de chaque mois jusqu’en novembre 2014. B.H. : Yes, I saw that film. l marc lambron isild le besco sanaË lemoine . B.H. nothing but condemn her to solitude. Stephen Barbara was born and raised in New Haven, Connecticut, and graduated from the University of Chicago with a B.A. Un homme est obsédé par une scène de la mythologie : celle où le chasseur Actéon surprend la déesse Diane nue au bain. It’s a word often associated with singing, but I don’t like it. Romancier, essayiste, critique, cofondateur de la revue Ligne de Risque, Yannick Haenel est aussi depuis peu cinéaste.. Pensant l’écriture comme une façon de déborder l’espace de la page, il était naturel que son amour du cinéma, et du corps des nymphes qui souvent y trouvent refuge, devienne expérience de réalisation. Y.H. : We : Yes, B.H. The Messenger is the story of Jan Karski, a Polish Resistance operative who tried to bring to the world’s attention what was happening to the Jews of Poland. In opera, during rehearsals, we sometimes wear knee-pads, for example. (Télécharger) Correspondance Lettres 1 à 147 : (Priorat et abbatiat au Bec) pdf de Anselme de Cantorbéry, Helmut Kohlenberger, Michel Corbin, Henri Rochais On the other hand, there is that cable – a symbolic one at least – the telephone cable that connects Elle to Lui, therefore to the exterior. This is theatre of cruelty. I prefer to say embodiment, because interpretation is superposed. Béla Bartók / Francis Poulenc, Encounter between Bryn Terfel and Yannick Haenel, In collaboration with Philosophie magazine. Who is dead? Avec Barbara Puggelli, Régina Démina, Eva Niollet. In 2008-2009, Haenel was a resident at the French Academy in Rome, the Villa Médicis.[2]. : “The body that emerges from the voice”, yes. Sa ligne éditoriale a l’ambition d’aborder des questions exigeantes au moyen d’une forme habitée par l’histoire du dialogue et de la rencontre. barbara cassin hÉlÈne carrÈre d’encausse . This is a story of women, men and lovers, but there is something about it in the order of a graphic struggle with powers that are not assigned to human bodies. The voice elicits violent, passionate, amorous reactions because it offers something primal, something true. be depicted, like madness or death. Krzysztof With Krzysztof Warlikowski’s production of the diptych comprising Bluebeard’s Castle and La Voix humaine once again on the bill, Yannick Haenel and Alexandre Lacroix met Barbara Hannigan, who is singing the role of Elle in Poulenc’s opera, electrifying each performance with the intensity of her stage presence. B.H. That’s nothing. La Grande table culture. In the prologue, I am the illusionist’s accomplice. And yet, she loves him. Is he a former lover? B.H. Yannick Haenel’s most popular book is A Short History of Photography. With Krzysztof Warlikowski’s production of the diptych comprising Bluebeard’s Castle and La Voix humaine once again on the bill, Yannick Haenel and Alexandre Lacroix met Barbara Hannigan, who is singing the role of Elle in Poulenc’s opera, electrifying each performance with the intensity of her stage presence. It’s possible to hear immediately if someone has a problem by listening to their voice, whether it’s too high, too low, too tight. It’s different for a cellist or a pianist. But the mirror effect doesn’t stop there: in “Bluebeard”, the women are perhaps dead. Le Papillon noir est un monodrame composé par Yann Robin sur un livret écrit par Yannick Haenel et créé à La Criée de Marseille le 12 mai 2018. Y.H. supplication, to tortured bodies, to obtain that. – in the great crime scene that is Bluebeard’s Castle. m lara micheli ennio morricone ottessa moshfegh . Le pittoresque n’est pas un genre facile. it. But it’s not Even if, in Warlikowski’s production, the telephone doesn’t exist, the question of communication – impossible communication – remains strongly present. 27 min. Is that her lover on the phone? character’s indecisiveness regarding the past could be my undoing. There’s one top C and two top As. Barbara Hannigan: To my mind, links develop between these different moments. : I don’t want to calm down on stage. In C’est presqu’au bout du monde (Almost at the end of the world), Mathieu Amalric filmed me warming up my voice. : What memories do you have of rehearsals? Yannick Haenel - Charlie Hebdo le 11 décembre 2019 J’écris cette chronique le 5 décembre, c’est-à-dire le premier jour de cette grève tellement annoncée. In it I explain that when I was a child, I was obsessed by Perrault’s tale of Bluebeard. Y.H. found the beginning of it on the third day. The body and voice of one woman become humanity in its suffering, trying desperately to speak, stumbling up against the telephone operators, priestesses of the invisible. : That’s an idea both terrifying and fascinating. The last note of La Voix humaine is a G. Why a G? You can’t cheat. The spring is remote, on top of a mountain. You can see very clearly that the voice – your voice – comes from the lower abdomen. : That’s what I feel too: this production plunges us into an hallucinatory logic, a dream logic. the case. Yannick Haenel. The Messenger, by Yannick Haenel, translated by Ian Monk I could not put this down – I read it all in one go in a day. asked if I could open the door and the draught made my hair fly about. When I discover them, on stage, I sense a lot of love. It’s necessary to sing like that. It was during an improvisation. Then, as the final chords of Bartok’s work resound, you reappear, advancing from the distance to the front of the stage, already a vehicle for passion and for the words – themselves also criminal - of Cocteau’s text, La Voix humaine. Wolfsohn was a nurse during the First World War. Her “Hello, miss, hello,” over and over The voice doesn’t originate in the throat, it emerges from your guts. Yannick Haenel 23 juillet 2012. B.H. Someone intercepts it. Des « extraits » de Je cherche l’Italie ont été publiés par Yannick Haenel sur le blog « Les Chroniques purple » pendant l’année 2014. Y.H. We have here two very different visions of love. : In reality they are both forms of confinement – confinement in a room or internal confinement, like opposite sides of the same coin. In this opera, there are no grand vocal demonstrations. : I Earlier, you talked about interpretation. An assassin? In opera, the singers have a mysterious connection with the audience. : Could you tell us about your collaboration with Krzysztof Warlikowski, the director? think that to write with total commitment, is to be open to things that can’t In 2009, he was awarded the Prix Interallié and the Prix du roman Fnac for Jan Karski (roman) [fr].This book has three parts: Claude Lanzmann published a vigorous criticism of the novel of which he described the third part as a "falsification of history". Le livre, Le Papillon noir, suivi de Longer à pas de loup, paraîtra le 7 mai 2020 aux éditions Gallimard (collection L’infini).Y-aura-t-il un « effet Papillon noir ». There was a telephone, but I The entire history of life, of existence is contained within this separation between heart and spring. : In the scenography of Bluebeard’s Castle, we discover a series of rooms: a spatial arrangement that takes us into caves of sorts, into a form of interiority, plunging us deeper and deeper into the castle. The first image happened by accident. : Those cries from the First World War are also the voices that Freud heard, of soldiers he tried to heal, suffering from schizophrenia and hysteria. It’s the same thing with singing, according to schools like those of Roy Hart or Alfred Wolfsohn. Between them, there’s something similar to the telephone call in Cocteau: the final link that joins two beings. You are thus implicated – an accomplice? B.H. : Perhaps that’s why Cocteau’s words are stronger when you sing them than when you say them. : It’s no longer the bourgeois little drama by Cocteau, nor even that by Rossellini with Anna Magnani. A.L. That’s why audiences either love them or reject them violently. : The relationship these women, supposedly kept prisoner, have with their tormentor, Bluebeard, is complex. 2 Yannick Haenel, Jan Karski, Gallimard, Paris 2009. After studying medicine in Geneva, she continued her research at Harvard Medical School, Massachusetts General Hospital (Boston). What’s beautiful is that Cocteau’s text, a sort of highly psychological French vaudeville, has been made into an immense metaphysical crime scene. Born in Geneva in 1950, Barbara Polla is a doctor, gallery owner, writer and a liberal Swiss political figure. La Reine de Némi, réalisation Yannick Haenel. again. Yannick Haenel, Diane et Actéon, Le désir d’écrire, collection « Psychanalyse » dirigée par Laurence Joseh, série réalisée avec la collaboration de Stéphane Habib, prologue de Françoise Gorog et Luc Faucher, Editions Hermann, 2020, 64 pages. In the we began rehearsals for La Voix humaine, One of my singing teachers was from the Roy Hart school, and Roy Hart was a pupil of Wolfsohn’s. Krzysztof, rehearsals don’t only take place in the rehearsal room. She needs the operator, she needs sympathy, but the operator does Embodiment is inside. I’m Bluebeard’s wife, That’s what I call the spring. Y.H. They’re on stage, they’re alive. in English language and literature, winning awards for writing and student leadership while at the college. The son of a soldier, Yannick Haenel studied at the Prytanée National Militaire at La Flèche. He also directed two volumes of interviews with Philippe Sollers: Ligne de risque and Poker. A baby can cry for hours without having vocal problems, because it's completely committed to the crying, s/it “is” the crying. g adrien goetz . B.H. The first time we met, when we did Lulu in 2012, there was an instant rapport of profound trust between us. La Grande table culture. It’s strange, I imagine that woman as being drugged; I don’t see how she could survive without taking drugs. Yannick Haenel (France Culture, Le Réveil culturel, 04/03/2019) Les Dernières Diffusions. JULIETTE ADAM « Oh non . kept this effect which gave the character a savage side. [3] He reproached Haenel for having plagiarized the dialogues of his film without having asked for authorization. He completely changed vocal expression thanks to his total commitment. : They are the same character and yet not the same. Basically, a singer is a bit like Elle. In this production, I find it interesting that Bluebeard’s wives aren’t dead. When I’m levitating, it’s violent: it’s as if she’s been taken hostage, being abused. I said to myself that this production had something of the sacrificial ceremony about it, as in antique theatre. We didn’t want everything, it sets language singing. 28 min. Cette obsession l'enferme dans les livres et dans la répétition érotique. Béla Bartók / Francis Poulenc. : Not really. Pour le critique d’art anglais John Ruskin, il est presque toujours superficiel. Listen to our podcasts and discover our videos here. ... Barbara Bohac 31 août 2012.
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